The Detective Is Already Dead – 03 – Sapphire in the Rough

Saikawa Yui is a nationally famous idol on the rise who also happens to be a ridiculously wealthy heiress. As her parents died three years ago, she is now head of a household that possesses, among other things, a sapphire worth upwards of three billion yen.

How she happened to find Kimizuka or know he was tied to a famous detective is unclear (though I’m guessing with her money she can afford all manner of resources) but her mission for him is simple: prevent the theft of the sapphire on the day of her live Tokyo Dome performance.

Nagisa threw Kimizuka for a momentary loop when she declares that she is the legendary detective and he is merely her sidekick, but he isn’t surprised for long. After all, Siesta’s heart is beating in Nagisa’s chest, and Nagisa later mentions that due to her prior poor health she didn’t really take pains to establish a clear identity for herself.

Now Siesta’s heart seems to be pulling her along, and Nagisa seems game to be along for the ride. Nagisa has taken a shine to Kimizuka, and vice versa, and while Kimizuka is concerned that the fact Nagisa wears her new heart on her sleeve could cause problems for her as a detective (who must always follow their heads first), that doesn’t change the fact he’s looking as forward to working with her as she is him.

Despite being packed with just the kind of almost-too-polished witty banter I often enjoy in these kinds of series, this was still the weakest episode of the bunch. It lacked the action and intrigue of the double-length first episode, and lacked much of the emotional resonance of the second. Instead, it’s basically about a case-of-the-week(s) that seems simple on the surface, but it’s complexities remain known only to Kimizuka.

While his claim that Yui-nya is lying should bear intriguing fruit next week, and there were likely a few clues this week that will be referred to when he makes his big deductory speech, the fact is this episode’s true value can’t be fully assessed due to its reliance on the payoff in the next.

Also, the fact Yui is so quick to label Kimizuka a pervert feels both lazy and unnecessary. Even if it’s mostly in jest, it undermines the goodwill built up last week which portrayed Kimizuka as a decent mature fellow. Yui doth protest too much…though maybe that’s the point: she’s trying to deflect his suspicions about what she’s hiding from him and Nagisa with childish insults.

We’ll see … as for my prediction: Yui made the ransom note-like warning that the gem would be stolen, or possibly hired people to steal it.

Jaku-Chara Tomozaki-kun – 09 – The Normiest Summer Ever

Summer break is here, but it won’t be a break from Tomozaki’s mission to master the game of life. It can’t be; it’s their last summer break in high school! His first task—go somewhere one-on-one with a girl who isn’t her—can be satisfied by going to that movie with Fuuka. But for Hinami victory ultimately means him regularly dating Fuuka, and she’ll be setting other goals for him between now and the end of August.

Hinami wants Tomozaki succeeds in his first date, so they have what she calls a “rehearsal date”, in which she texts him places he’ll suggest they go as if he had chosen them, and she’ll speak in a higher register and act like his date. While clothes shopping, she gives him a slightly scratched backpack she bought earlier for a cute button he buys for her. Then they hit up the electronics store and play some Tackfam at the Yontendo display.

It’s here where we watch Hinami openly struggling for once and not being The Best. I emphasize that she’s not acting here; she’s being her genuine self with him, and the pretend date suddenly feels like a real one. He considers their Tackfam playing to be the “best form of communication” for them; it’s when he realizes she’s not just a top-level normie but a dyed-in-the-wool gamer like him.

While having a bite, Hinami tells Tomozaki she already got the OK from Fuuka to give him her LINE ID, which saves him the trouble of asking her in person. Hinami gives him the brass tacks of his message, and Tomozaki bangs it out. It’s a bit lengthy, but it’s earnest and straightforward, so she clears it for sending. And despite warning Tomozaki that sometimes it takes a while for Fuuka to respond, she responds almost instantly with an enthusiastic “yes”—a definite good sign.

Before parting ways for the day, Hinami tells Tomozaki to keep the 4th and 5th open, as she and the rest of the gang are going to have a barbecue and sleepover, ostensibly as a ploy to get Yuzu and Nakamura together. But such a youthful normie event will be a veritable goldmine for Life XP Tomozaki needs to level up. I don’t think that Hinami “pulled strings” to get him invited—I’m sure they were all fine with him joining them—as someone who wishes to master the game, this is a challenge he can’t pass up. He’s in.

First Hinami invites him to join her and Mizusawa for a planning event at Mimimi’s. There, his task will be to “mess with” Mizusawa at least three times, for as she says, “moderate teasing is key to making friends as equals.” It’s a super-clinical, even cynical way of looking at bonding rituals, but that doesn’t make it not true!

Sure enough, as soon as Tomozaki arrives ready for an opening to mess with Mizusawa, he is the one messed with. But when Mimimi requests a change of venue since her grandma is over, Hinami suggests the house of the one who lives closest to Mimimi. That’s Tomozaki, and as a result his little sister and mom totally freak out by the top-tier characters who are suddenly hanging out with their Fumiya!

While playfully searching Tomozaki’s room looking for porn, Mimimi finds a box full of totally worn-out old controllers. He explains that while they’re no longer sensitive enough for Tackfam, they’re still fine for other games. Hinami takes a particular wordless interest in these, actual artifacts of his grueling effort to become the best that she can hold in her hands. No doubt she has a few such controllers in a box in her room too!

Planning to bring Yuzu and Nakamura closer together turns to talk of the future in general, with the knowledge that with exams next year there won’t be as many opportunities to hang out; this summer must not be squandered. Tomozaki successfully messes with Mizusawa thrice. Mizusawa also noticed the hair gel he recommended to him isn’t being used too frequently, and Tomozaki demonstrates why when he applies it: he needs some pointers.

What follows is a very sweet little scene as Tomozaki films himself as Mizusawa shows him the proper way to apply the gel. Mizusawa notes that Tomozaki takes everything seriously, and wonders why he goes to such lengths, with everything from hair gel to Mimimi’s speech. Tomozaki likens life to a game he doesn’t want to lose, and Mizusawa can see, but from his perspective, if life is only a “game”, why not loosen up and enjoy it?

It’s a very enlightening exchange of viewpoints, as the two guys treat the word “game” very differently. When Tomozaki returns to his room with his new ‘do, Mimimi is the one messing with him, using a pen as a microphone to report “something fishy going on.” After everyone leaves, he suggests Saturday the 1st for the movie with Fuuka, which is fine with her.

Now comes the even I’ve been looking forward to since it was first suggested: his big date with Fuuka. Tomozaki is the first to arrive at the meeting spot, which means he gets to see Fuuka before she sees him, and watch her neutral, almost forlorn expression turn to pure quiet joy when she spots him waving to her. Both of them are so happy and giddy this is actually happening, the two freeze up a bit, until Tomozaki says “Shall we?” and they head to the theater.

When Tomozaki mentions her long sleeves, she tells him how she has extremely sensitive skin that burns easily in the sun. He misses an opportunity to compliment her, but at the same time saying something like “I think your skin is lovely” might have made her to self conscious. In any case, Fuuka is so excited upon seeing the movie posters she draws quite close to him, then realizes how close that is an retreats a bit.

Once they’re in their seats, Tomozaki can’t help but look over at Fuuka beside him and blush with happiness. After the film they grab a bite, but as he continues talking about the film in detail, Tomozaki realizes he’s talking too much and not giving her an opening to add to the conversation. It’s here where my stomach started to sink along with Fuuka’s expression as Tomozaki overcompensates by bringing up a string of conversation topics that don’t mesh well.

Worse, he thinks it’s going well when it’s clear from Fuuka’s look that she notices something is off. He realizes this too when she comes right out and says he’s a “mystery” to her, in the way he suddenly swings from being really easy to really hard to talk to. An awkward silence ensues.

Still, and this is key, those moments of awkwardness do not end up sinking the date or their prospects for each other. Instead, while on the train Fuuka clarifies her comments: she didn’t mean what she said about Tomozaki to be a bad thing, but a good thing. She’s never been good at talking with boys, so the times when it’s easy to talk with him represent the first such time. That makes her happy, which is why, without any needed input from him she tells him she wants to go out again sometime.

Tomozaki reports his great victory to Hinami over the phone while she’s painting her toes. She urges him to reflect on the “hard to talk to thing”, which really comes down to lack of experience on skills on both his part and Fuuka’s. The more time they spend together, the more comfortable they’ll get talking with one another.

Hinami may well have expected Fuuka would want to hang out with Tomozaki again, so she already has the ideal event for their second date: a fireworks show on the sixth. Tomozaki texts Fuuka, and she again gets back to him immediately with a yes. But before that he’ll tackle the barbecue and sleepover with his normie friends. I for one can’t wait for either!

Bloom Into You – 13 (Fin) – Right Now Is Different

As she visits her family grave, Touko remains determined to “see things through” and put on the stage show in her sister’s place. And that’s all fine and dandy…for the present. But what about when the show is over? Who is she, who does she become once there’s nothing left to do in her sister’s name?

Miyako’s Café Echo is a quiet and intimate place that draws both Yuu and Kanou (to start the process of re-writing the play’s ending) and Touko and Sayaka. While the latter two are there, Miyako and Sayaka share some knowing glances and phrases, and Sayaka finally asks Touko about her sister: What was she like?

Touko is somewhat hesitant to answer, as she’s realized the Mio she knew wasn’t the whole picture. Sayaka responds that just because what she knew of Mio wasn’t complete doesn’t mean that part wasn’t a real and legitimate part of who she was—and a part about which Sayaka wants to hear.

Talking about her sister puts Touko back in a forlorn, uneasy state, and she just wants to see Yuu at times like that, to simply exist with her in the right now. Yet even though she’s been told she’s allowed to “indulge herself” Touko still hesitates to send a text…until Yuu sends her one first, inviting her to hang out.

Just that one simple little text completely changes Touko’s right now. Back at the cafe, Riko arrives, and Miyako asks her if she prefers men or women; a kind of loaded question. Riko admits, she’s not especially attracted to women, but right now, she’s dating one: Miyako. Life is full of exceptions, contradictions, and imperfections. They can or can’t be explained, and can only either be accepted or not.

Yuu and Touko go to Aqua World and have a blast, and I couldn’t be happier. I’d much rather the series end on a lovely date that explores where they’re at in their relationship right now, rather than focus on the festival and stage play. I’m far less interested as a play than as a mirror to who Touko “is.” I shouldn’t, then, be surprised that Bloom Into You gave me what I wanted.

What I also didn’t want, and thankfully didn’t get, was a confession or “awakening” from Yuu. What I did get was Touko explaining why she says I love you so easily and often to Yuu. Regardless of how Yuu reacts, simply saying it makes Touko feel relieved. Relieved that she can actually fall in love with someone, something the sister she knew never did (as far as she knows).

That means that she’s not falling in love simply to check off another box on the list of things her sister did. It’s something that happened to her, Touko, organically and without influence. And however much of who she is is only a lie or an emulation of Mio, the part of her that likes Yuu is most assuredly neither. It’s real, and it’s relieving.

She admits that sounds self-contradictory, but Yuu further comforts her by stating what she believes: that it’s perfectly fine to be self-contradictory. To be so is to be human.

While outside before the penguin march, Yuu starts performing the play, and Touko joins in once she realizes there’s no one else around. When Yuu changes some of her lines from the script, she says she’s improvising, that Touko follow suit, and that Kanou is changing things up because she wasn’t satisfied with the script as-is.

When the part comes when Touko’s character is apprehensive about which person she should choose to be based on the different stories she’s received, Yuu asks why she needs to make a choice at all. “I don’t know anyone aside from ‘you'”,  Yuu’s nurse character says. It’s not like Touko’s character has no memories, she’s gained enough during the hospital stay to lay out the groundwork of who she is right now, not who she might’ve been.

The penguin show interrupts their rehearsal, and the two continue to enjoy the aquarium. Eventually Yuu takes Touko by the hand and leads her through the transparent underwater tunnels, to other exhibits, and to the gift shop. Touko wishes this would never end, but the exit approaches … they’re there already; too soon for her taste.

On the train home, both Touko and Yuu are sleepy and close to drifting off. Yuu tells Touko she can, and she does, leaning her shoulder and head against her. In idea for the title of Kanou’s play comes to Yuu: “Only You Know.” She takes the sleeping Touko’s hand and draws nearer, gently waking her and saying they need to change trains…

…And that’s it! Such a quiet, delicate ending full of warmth and love. Do I wish we got to see more of Touko and Yuu’s relationship blooming, and possibly Yuu eventually figuring out that what she feels for Touko is indeed a kind of love? Sure, and in that regard, this series has left us with naught but an elipsis, and a second season has not yet been confirmed.

So Like Touko with her memories of her sister, we have to be content with what we have and the fact that it’s not the whole picture…though I hope we get a little more down the road.—sesameacrylic

Bloom Into You – 12 – Changing the Ending

Actors put draw from personal pain to express pain in their performances, but in light of what Ichigaya told her about her sister, the line between performance and real emotion is perilously thin. Sure, Touko blows everyone away with her line-reading, but they don’t know that almost all of those lines could be said about her!

Everyone, except for Yuu and Sayaka. But all throughout camp, just as Yuu’s affection for Touko seems to be growing, the combination of Touko’s promise to hold back and Sayaka assigning herself in charge of “looking after” Touko, you can see Yuu grow increasingly lonely and frustrated. Yuu knows that Touko wasn’t acting when talking about who the “real her” was.

After Sayaka dismisses Yuu’s concerns (and frankly doesn’t see the need to discuss it with a kohei at all), Yuu seizes an opportunity when she and Touko are alone and all but orders her to walk her home. She asks about Touko and her family’s further Summer plans. She stops at the railroad crossing and remembers the kiss Touko gave her.

Then, she takes the initiative once more. When Touko’s about to go her separate way, Yuu invites her to her room, and is honest about why: if they part there, they won’t see each other for a while, and she doesn’t like that. She wants Touko to have more faith in her, for she’s holding up her end of the bargain, neither loving nor hating her. Touko accepts, but warns Yuu that she’s going to “indulge” herself.

What ensues is the steamiest scene between the two yet, and another demonstration of how Yuu is probably not being fully honest with herself when it comes to how she feels about Touko.

The show pulls no bush-league parent barge-ins; the two have each other all to themselves, and spend it on the bed until dusk. Kudos to the sound designer and the voice actors for the very immersive blowing fan, as well as the extremely subtle sound effect of the girls’ lips meeting. Touko’s flowing hair is also impressively handled.

During that time, Touko opens up to her about why she’s upset, just as she hoped she would. She expresses how lost and aimless she feels now that her idea of who her sister was might not be remotely accurate. Yuu asks why she needs to “become” someone other than who she currently is.

Again, Touko’s self-loathing surfaces in response. Assuming (perhaps wrongly) Yuu feels nothing for her, she questions why she’d stay the way she is. Then, after getting on top and kissing Yuu some more, Touko whispers in her ear “Don’t fall in love with me. Because, you know, I hate myself. And I can’t be in love with someone who likes the things I hate, right?”

Well, wrong, Touko! Staking her love entirely on the person she loves never loving her back just…that’s not how this works! That assumes Yuu’s feelings will never change no matter what, even as Touko insists upon changing into someone better than she is.  Like she can evolve, but Yuu can’t. It’s unfair, selfish, and utterly misguided. But it’s also what you’d expect of someone with Touko’s experiences.

Yuu agrees with me, in that just because you can logically explain why Touko feels this way doesn’t mean you have to accept it. And Yuu won’t. She yells “Senpai, you idiot!!” when they part, hoping Touko heard her. After spending some time alone with her thoughts, she calls Kanou: she wants to change the ending.

She runs to Kanou’s house to explain, and ends up drawing out the very reason Kanou was so frustrating with the ending as she wrote it (the girl ends up becoming the person her lover remembers).  It all comes down to why the character would pick that version of her: the motivations are totally couched in the past, rather than in the present duration when she’s lacked memories but gained insights from three different people.

The need to choose one and only one of the three version to “become” was always a false one; both Kanou and Yuu see this strongly implicitly. Realistically, there’s a fourth way to go, an ending where that false choice isn’t made. But Yuu doesn’t simply seek to change the play’s ending. She wants to change Touko herself; to somehow get her to see that there’s no single answer. She doesn’t want Touko to hate herself.

It may be selfish or arrogant (and her gaze into the stars of the mini-planetarium do give her a very imperious bearing), but it’s what she’s setting out to do. Hopefully, she’ll take a second at some point and figure out why she has to…though something tells me she already knows.

White Album 2 – 06

wa26

Haruki dotes on a bedridden Touma, who insists on moving her futon to the studio so she can watch him practice his solo. Both of them miss their rehearsal at school, and Setsuna is simply unable to sing without them. Touma tells Haruki about how she almost quit the piano after her mother left for Paris without her, saying there was no reason to bring her. The next day Haruki very publicly steals Setsuna away and they take the train to Touma’s. Haruki and Touma show a third song that they wrote the music and lyrics to, which she’ll sing as their final piece at the fair. They only have 24 hours left to practice.

This Haruki guy is one smooth operator. Swooping in as the white knight on his horse whenever his damsels are in trouble; be it Touma’s fever or Setsuna’s anxiety. Rejecting Haruki’s calls to cancel the show if she isn’t better, Touma is committed to seeing it through to the very end, as promised. But as she lies on her side watching Haruki practice, the concert isn’t all that’s on her mind. It’s Haruki himself, and the fear he and Setsuna are going out. Meanwhile, throughout Haruki’s extended stay at Touma’s, Setsuna herself is just as fearful there’s something going on with the other two. Whenever either of them are alone with Haruki they’re on cloud nine, and to be truthful, so are we; it’s far less stressful when he’s warmly interacting with Setsuna or Touma one-on-one.

But this lovely “truce” (or “purgatory”) can only last so long. Specifically, it will only last until the light music club has their concert, plays their songs, and takes a bow. Once the lights go out on that stage, their shared goal will be fulfilled, leaving only their own individual goals. We know at this point that both Setsuna and Touma’s like Haruki, so their goals are obviously in conflict. Haruki’s goals beyond the concert remain murky, though the third song (which happens to be the OP), sheds a little light: he joined the music club so he could write that third song; it’s his “dream.” But as he doesn’t explain why it’s his dream (only that it is) and we’re left to ponder the significance—and the true subject—of his lyrics. (Setsuna’s momentary lip-bite suggests it’s not her). He’s wisely held back on breaking anyone’s heart for the sake of club cohesion, but surely he’s smart enough to know he can’t keep that up forever. A reckoning is coming. We can’t wait.

8_great
Rating: 8 
(Great)